Every building type is covered - from the largest publicly-funded art museums and airports to private houses - and each project is illustrated with colour photographs, line drawings and an analytical text.Eminent architectural critics, curators, journalists and practitioners from all parts of the globe nominate what they consider to be the most outstanding works of contemporary architecture in their regions and beyond. The resulting 1,050 buildings confirm the far-reaching influence of well-known and respected international practitioners such as Jean Nouvel, Tadao Ando, Renzo Piano, Sir Norman Foster, Rem Koolhaas and Herzog & De Meuron, as well as introducing a host of lesser-known architects whose work provides an illuminating point of comparison with their famous counterparts.This magnificent book provides a unique opportunity to examine contemporary architecture as an evolving global phenomenon with all the cross-cultural influences this suggests, while illustrating the powerful diversity that is generated by climate (from the Arctic circle to the African deserts), culture (from the technologically advanced secularism of western Europe to traditional rural communities) and economics (from the wealthy post-industrial mega-economies to some of the most economically challenged countries of the developing world).The colossal volume is divided into six geographical regions with meticulous maps in each section, providing geographical orientation and an understanding of where contemporary architecture is being commissioned, designed and built. Its composition, scale, range and depth are truly unprecedented. The Phaidon Atlas of Contemporary World Architecture is essential reading for all those interested in gaining a true understanding of where the best contemporary architecture is located in the world.

    Classical buildings as widely spaced in time as a Roman temple, an Italian Renaissance palace and a Regency house all show an awareness of these rules even if they vary them, break them or poetically contradict them. Sir Christopher Wren described them as the Latin of architecture and the analogy is almost exact. There is the difference, however, that whereas the learning of Latin is a slow and difficult business, the language of classical architecture is relatively simple. It is still, to a great extent, the mode of expression of our urban surroundings, since classical architecture was the common language of the western world till comparatively recent times. Anybody to whom architecture makes a strong appeal has probably already discovered something of its grammar for himself.In this book, the author's purpose is to set out as simply and vividly as possible the exact grammatical workings of this architectural language. He is less concerned with its development in Greece and Rome than with its expansion and use in the centuries since the Renaissance. He explains the vigorous discipline of the orders and the scope of rustication; the dramatic deviations of the Baroque and, in the last chapter, the relationship between the classical tradition and the modern architecture of today. The book is intended for anybody who cares for architecture but more specifically for students beginning a course in the history of architecture, to whom a guide to the classical rules will be an essential companion.

    This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. Synopsis Learning from Las Vegas created a healthy controversy on its appearance in 1972, calling for architects to be more receptive to the tastes and values of "common" people and less immodest in their erections of "heroic," self-aggrandizing monuments. This revision includes the full texts of Part I of the original, on the Las Vegas strip, and Part II, "Ugly and Ordinary Architecture, or the Decorated Shed," a generalization from the findings of the first part on symbolism in architecture and the iconography of urban sprawl. (The final part of the first edition, on the architectural work of the firm Venturi and Rauch, is not included in the revision.) The new paperback edition has a smaller format, fewer pictures, and a considerably lower price than the original. There are an added preface by Scott Brown and a bibliography of writings by the members of Venturi and Rauch and about the firm's work. About Author: Biography Steven Izenour (1940-2001)

    It presents a broad spectrum of subjects and designs, with practical experience and evaluation of the use of these buildings serving as a leitmotif. This immensely successful book has gone through many reprints and has also been published in Japanese, German, Italian, Portuguese, Taiwanese, Dutch, Greek, Chinese, French, Polish and Persian. More than 750 illustrations give a broad insight into Hertzberger's 'library' and a stimulating impression of the influences and sources of inspiration of one of the Netherlands' major postwar architects.

    One of the most celebrated living architects, Ando is best known for crafting serenely austere structures that fuse Japanese building traditions with Western modernism. His minimalist masterworks-geometric forms clad in silky-smooth exposed concrete-are suffused with natural light and set in perfect harmony with the landscape. In these highlights from lectures delivered at the University of Tokyo's Graduate School of Architecture, Ando candidly describes his experiences as a largely self-taught practitioner, tracing his development from an early interest in the traditional building craft of his native Japan through his political awakening in the turbulent 1960s to his current stature as one of the world's foremost architects. In addition to exploring his aesthetic influences and working process, Ando offers students a road map not only for maintaining professional integrity, but also for becoming effective agents of change in the world.

    Others may think of it as the last architectural treatise, for it provides a discursive container for ideas that would otherwise be lost. Whatever genre it belongs to, SITELESS is a new kind of architecture book that seems to have come out of nowhere. Its author, a young French architect practicing in Tokyo, admits he "didn't do this out of reverence toward architecture, but rather out of a profound boredom with the discipline, as a sort of compulsive reaction." What would happen if architects liberated their minds from the constraints of site, program, and budget? he asks. The result is a book that is saturated with forms, and as free of words as any architecture book the MIT Press has ever published.The 1001 building forms in SITELESS include structural parasites, chain link towers, ball bearing floors, corrugated corners, exponential balconies, radial facades, crawling frames, forensic housing--and other architectural ideas that may require construction techniques not yet developed and a relation to gravity not yet achieved. SITELESS presents an open-ended compendium of visual ideas for the architectural imagination to draw from. The forms, drawn freehand (to avoid software-specific shapes) but from a constant viewing angle, are presented twelve to a page, with no scale, order, or end to the series. After setting down 1001 forms in siteless conditions and embryonic stages, Blanciak takes one of the forms and performs a "scale test," showing what happens when one of these fantastic ideas is subjected to the actual constraints of a site in central Tokyo. The book ends by illustrating the potential of these shapes to morph into actual building proportions.

    In 1994 we published the first English-language translation of the classic French edition of 1975, which accompanied an exhibition of Virilio's photographs at the Centre Pompidou. In Bunker Archeology, urbanist Paul Virilio turns his attentionand camerato the ominous yet strangely compelling German bunkers that lie abandoned along the coast of France. These ghostly reminders of destruction and oppression prompted Virilio to consider the nature of war and existence, in relation to both World War II and contemporary times. Virilio discusses fortresses and military space in general as well as the bunkers themselves, including an examination of the role of Albert Speer, Hitler's architect, in the rise of the Third Reich.

    By the following April, the book was finished. Titled The Seven Lamps of Architecture, it was far more than a treatise on the Gothic style; instead, it elaborated Ruskin's deepest convictions of the nature and role of architecture and its aesthetics. The book was published to immediate acclaim and has since become an acknowledged classic.The "seven lamps" are Sacrifice, Truth, Power, Beauty, Life, Memory, and Obedience. In delineating the relationship of these terms to architecture, Ruskin distinguishes between architecture and mere building. Architecture is an exalting discipline that must dignify and ennoble public life. It must preserve the purity of the materials it uses; and it must serve as a source of power and renewal for the society that produces it. The author expounds these and many other ideas with exceptional passion and knowledge, expressed in a masterly prose style.Today, Ruskin's timeless observations are as relevant as they were in Victorian times, making The Seven Lamps of Architecture required reading for architects, students, and other lovers of architecture, who will find in these pages a thoughtful and inspiring approach to one of man's noblest endeavors.This authoritative edition includes excellent reproductions of the 14 original plates of Ruskin's superb drawings of architectural details from such structures as the Doge's Palace in Venice, Giotto's Campanile in Florence, and the Cathedral of Rouen.

    Though physical appearance is idolised for its sexual appeal and its social identity, the role of the body in developing a full understanding of the physical world and the human condition has become neglected. The potential of the human body as a knowing entity - with all our senses as well as our entire bodily functions being structured to produce and maintain silent knowledge together - fails to be recognised. It is only through the unity of mind and body that craftsmanship and artistic work can be fully realised. Even those endeavours that are generally regarded as solely intellectual, such as writing and thinking, depend on this union of mental and manual skills.In The Thinking Hand, Juhani Pallasmaa reveals the miraculous potential of the human hand. He shows how the pencil in the hand of the artist or architect becomes the bridge between the imagining mind and the emerging image. The book surveys the multiple essences of the hand, its biological evolution and its role in the shaping of culture, highlighting how the hand-tool union and eye-hand-mind fusion are essential for dexterity and how ultimately the body and the senses play a crucial role in memory and creative work. Pallasmaa here continues the exploration begun in his classic work The Eyes of the Skin by further investigating the interplay of emotion and imagination, intelligence and making, theory and life, once again redefining the task of art and architecture through well-grounded human truths.

    The wide spread of Palladianism was due partly to the private and public buildings he constructed in Italy, the designs of which were copied throughout Europe. But of even greater consequence was his remarkable magnum opus, "I Quattro Libri dell'Architettura"; translated into every major Western European language in the two centuries following its publication in 1570, it has been one of the most influential books in the history of architecture. The Four Books of Architecture offers a compendium of Palladio's art and of the ancient Roman structures that inspired him. The First Book is devoted to building materials and techniques and the five orders of architecture: Tuscan, Doric, Ionic, Corinthian, and Composite. Palladio indicates the characteristic features of each order and supplies illustrations of various architectural details. The Second Book deals with private houses and mansions, almost all of Palladio's own design. Shown and described are many of his villas in and near Venice and Vicenza (including the famous Villa Capra, or "The Rotunda," the Thiene Palace, and the Valmarana Palace). Each plate gives a front view drawing of the building and the general floor plan. The Third Book is concerned with streets, bridges, piazzas, and basilicas, most of which are of ancient Roman origin. In the Fourth Book, Palladio reproduces the designs of a number of ancient Roman temples. Plates 51 to 60 are plans and architectural sketches of the Pantheon.In all, the text is illustrated by over 200 magnificently engraved plates, showing edifices, either of Palladio's own design or reconstructed (in these drawings) by him from classical ruins and contemporary accounts. All the original plates are reproduced in this new single-volume edition in full size and in clear, sharp detail. This is a republication of the Isaac Ware English edition of 1738. Faithful and accurate in the translation and in its reproduction of the exquisite original engravings, it has long been a rare, sought-after work. This edition makes The Four Books available for the first time in more than 200 years to the English-speaking public.

    Bachelard takes us on a journey, from cellar to attic, to show how our perceptions of houses and other shelters shape our thoughts, memories, and dreams."A magical book. . . . The Poetics of Space is a prism through which all worlds from literary creation to housework to aesthetics to carpentry take on enhanced-and enchanted-significances. Every reader of it will never see ordinary spaces in ordinary ways. Instead the reader will see with the soul of the eye, the glint of Gaston Bachelard." -from the new foreword by John R. Stilgoe

    A building that eats smog. An inflatable concert hall. A research lab that can walk through snow. We’re entering a new age in architecture—one where we expect our buildings to deliver far more than just shelter. We want buildings that inspire us while helping the environment; buildings that delight our senses while serving the needs of a community; buildings made possible both by new technology and repurposed materials.Like an architectural cabinet of wonders, this book collects the most innovative buildings of today and tomorrow. The buildings hail from all seven continents (to say nothing of other planets), offering a truly global perspective on what lies ahead. Each page captures the soaring confidence, the thoughtful intelligence, the space-age wonder, and at times the sheer whimsy of the world’s most inspired buildings—and the questions they provoke: Can a building breathe? Can a skyscraper be built in a day? Can we 3D-print a house? Can we live on the moon?Filled with gorgeous imagery and witty insight, this book is an essential and delightful guide to the future being built around us—a future that matters more, and to more of us, than ever.

    The book also includes descriptions of laquerware under candlelight, and women in the darkness of the house of pleasure.

    Organised largely by building type, and with over 6000 diagrams, it provides a mass of data on spatial requirements and also covers planning criteria and considerations of function and siting. Most illustrations are dimensioned and each building type includes plans, sections, site layouts and design details. There are substantial new sections on:- building components - services - heating - lighting - thermal and sound insulation - fire protection - designing for the disabledAn extensive bibliography and a detailed set of metric/imperial conversion tables are included.Since it was first published in Germany in 1936, Ernst Neufert's handbook has been progressively revised and updated through 35 editions and many translations. This Third Edition of the English language version has been revised for the first time in 20 years and completely reworked, with 40% more material, to provide a major new edition for an international readership. Browse sample pages and buy online: http: //www.blackwellpublishing.com/architect...

    Changing the function of a word, or a room, can produce surprise and meaning. In How to Architect, Patt--an architect and the creator of a series of wildly popular online videos about architecture--presents the basics of architecture in A-Z form, starting with A is for Asymmetry (as seen in Chartres Cathedral and Frank Gehry), detouring through N is for Narrative, and ending with Z is for Zeal (a quality that successful architects tend to have, even in fiction--see The Fountainhead's architect-hero Howard Roark.)How to Architect is a book to guide you on the road to architecture. If you are just starting on that journey or thinking about becoming an architect, it is a place to begin. If you are already an architect and want to remind yourself of what drew you to the profession, it is a book of affirmation. And if you are just curious about what goes into the design and construction of buildings, this book tells you how architects think. Patt introduces each entry with a hand-drawn letter, and accompanies the text with illustrations that illuminate the concept discussed: a fallen Humpty Dumpty illustrates the perils of fragile egos; photographs of an X-Acto knife and other hand tools remind us of architecture's nondigital origins.How to Architect offers encouragement to aspiring architects but also mounts a defense of architecture as a profession--by calling out a defiant verb: architect!